NEIN! NEIN! NEIN!...
McGinness sheds his mop in the name of art and relocates his downtown studio to Madrid...
NYC-based artist RYAN McGINNESS is currently on an extended residency at Madrid's esteemed LA CASA ENCENDIDA cultural institution (January 24–March 7), where a large show of his graphic paintings is on exhibit in the space's cavernous main hall. His entire downtown studio has been replicated as an art project titled, "Studio Franchise Exhibition," and 40 art assistants have been recruited by the artist and La Casa to assist in his usual prodigious output throughout his stay. Upon arrival, the artist promptly shaved his head, using the hair to create a "wig sculpture" which guests can view on display in his studio.
"The Studio Franchise exhibition created by Ryan McGinness for La Casa Encendida will be open to the public beginning February 5. Ryan’s studio which can be found in Espacio C, will not be an exact recreation of the artist's studio but a new one created and inspired by certain guidelines of his original studio in New York. It will be in full operation during opening hours of the center and will be honored by the presence of the artist. A casting call was conducted in order find and hire Ryan McGinness clones or duplicates to serve as assistants in the studio for the duration of the exhibition.
As the primary drive of Ryan’s art practice concerns itself with the creation of and (re)production of original symbols, this new Madrid studio and the assistants will serve as symbols of the artist’s New York studio and as symbols of the artist himself. Furthermore, the studio and the assistants are not reproductions of the original, rather, they are productions based on the original. This is the essence of the franchise concept—not the deployment of reproductions or duplicates, but the production of originals created within a set of acceptable pre-determined guidelines—symbols with no referent, but that exist in their own right.
Espacio B will have paintings and sculptures in the making, empty frames, extensive sketches for compositions and paintings on the walls, boxes, plans for the exhibit taped on the wall, stairs, setting-up materials and tools, etc. During the course of the exhibit, the finished works created in the studio will be moved to Espacio B for viewing. McGinness will count on the help of participants in creating these works in the studio."
HAVE A LOOK: Read More
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Supertouch buddy and STAGES NYC co-conspirator JEFFREY DEITCH has announced today that he will accept MoCA's invitation to serve as the museum's director after the LA institution nearly went extinct due to grave financial woes in recent years (board member for life Eli Broad bailed them out, luckily). Even more shocking than that bombshell is the atomic bomb blast of a newsbreak that Jeffrey will be closing down his entire DEITCH GALLERY empire that currently ties together and dominates the entire downtown NYC art scene. "I'm just going to stop all commercial activity. The gallery will be over," he told the LA Times.
The home to vital young talents like Aurel Schmidt, Barry McGee, Shepard Fairey, Rosson Crow, and Chris Johanson, the loss of the gallery will be an enormous blow to the downtown art world, a large part of which currently orbits around Deitch's sun. Rumor has it, however, that JD is seriously considering transferring parts of the business to some of his partners & employees.
The biggest source of contention over Deitch's appointment, however, lies with the fact that he is an art dealer (with a large personal art collection) running an art museum who could conceivably use his position to better his own financial standings. Deitch told the LA Times, "Lots of people are going to be concerned and looking, and all their comments are important. What I hope is I'll eventually be seen as an actual individual, not as some abstraction -- an art dealer running a museum ... I have to exercise good judgment and be appropriate," he said. "Would I arrange an exhibition that features a major work I'm thinking of selling? Absolutely not, because that's not appropriate."
Listen to Jeffrey Deitch's NPR interview HERE.
Read the entire LA Times article HERE.
Created in 2008 as a monument celebrating the 100th anniversary of women’s right to vote in Victoria, Australia, "The Great Petition" sculpture was designed by artists SUSAN HEWITT and PENELOPE LEE to resemble the giant petition of 30,000 signatures offered to the Victorian Parliament in 1891 as evidence of widespread support for equal voting rights for women. The list of names ultimately led to the passage of the Adult Suffrage Act there in 1908. Flash-forward to 2009 and Aussie skater LANCE PATTISON can be found enhancing the artwork's fluid lines with ones of his own, as evidenced by this tre flip within the flowing scrolls of the endless feet of flattened white steel. Sometimes life does imitate art…
Flix by Jean-Rene Vauzelle...
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As a director of some of the most acclaimed highbrow B-movies of all time, Supertouch amigo JOHN WATERS needs no further introduction. Quietly working the night shift as a fine artist for years now, the Baltimore-bound obsessive's hard work has finally landed him a spot in the most hallowed hall of the modern art world, namely, the GAGOSIAN GALLERY, where the artist's solo "Rear Projection" show opened to a throng of Hollywood players, weirdos, fanboys and girls, and well-wishing lookie-loos on Saturday nite. Comprised largely of C-prints of photos Waters has taken of TV screens bearing his favorite stills from movies of all kinds, the works pulse with the raw humor and dry wit that is Waters' hallmark...Read More
We at Supertouch aren't too shy about proclaiming our own JAMES JEAN as the next big thing. His painting chops are akin to the hand of God, and his sense of composition and palette are similarly sublime. Following his recent breakthrough art show at NYC's JONATHAN LEVINE GALLERY, JJ has been laying low in the Southland quietly putting the finishing touches on a new series of masterpieces, like the just-completed vision we see here, "Excavation." Rendered in acrylic and oil on canvas, this ethereal 3 1/2' x 4' dreamscape merely foreshadows the visual brilliance this nascent fine artist has to offer. HAVE A LOOK: Read More